City Of Melbourne

RMIT University

RMIT University

RMIT's graduates go on to work in leading brands, create independent practices and conduct research for challenging approaches to fashion

RMIT’s approach to teaching fashion design seeks to imagine future commercial contexts, create ethical design propositions and use cross-disciplinary design strategies to drive global and competitive fashion design practices. Graduate capabilities are design, communication and presentation methods and strategies for fashion garments, products, accessories, objects, artefacts, materials, spaces and experiences of and for the body.


Alexander Bourgazas

The ‘Kouneli’ collection subverts hegemonic masculinity through the decoding of archetypal, traditional menswear. These constructions appoint the wearer as an integral element to the self perceptions of identity and manhood. The garments are predominantly wool and cotton based and complemented with off-cut leather accessories.

Amalia Jones

This collection uses motifs from Amalia’s mother’s wardrobe, drawing on feelings and memories from her past and evoking those same feelings and memories into something new. The designer notes that possessions hold rich moments of sentiment and they tell us a story. The ‘What Was and Now Is’ collection aims to capture memories left behind in material.

Amy Lawrance

Exploring the history of home dressmaking, this collection titled 'Dreams on Paper' plays with silhouettes, fabrication and colours inspired by a collection of Barbie clothes that belonged Amy's mother as a little girl. It also takes inspiration from a small suitcase of children’s clothing patterns from the 1960s that belonged to Amy's neighbour.

Isabella Markos

‘Deeply Leisured Wear’ is a collection of garments as appendages. Inspired by a personal relationship with one’s wardrobe, the designer explores notions of transformation through materiality, drape and garment deconstruction techniques. Performed through interactions of wearing the garment, appendages reconceptualise components of the wardrobe into the realm of contemporary fashion.

Kirsten Olsen

Addressing the spaces in which fashion is both made and shown, this collection is an ode to the tools and items used for making. Pieces are concocted of hard and soft materials adapting the transient functions of wear and display found in studios.

Kristine O'Loughlin

'[not] Zero Waste' explores societal perspectives of waste and value, aiming to shift these through restorative techniques, assembly and reassembly applied to classic archetypes. Driving the conversation towards sustainability, this project draws on the knowledge of making and craft with the intent to contribute to the discipline of fashion design.

Lauren Hart McKinnon

'The Ultimate Fleetingness of Things' is a collection that investigates the intimate relationships we share with the objects we possess. Through analogue print processes and structures that allow for the carrying and concealment of small mementos, the collection aims to encourage closeness between the wearer and the garment, promoting a more sustainable fashion system.

Leanne Yansin Choi

Leanne’s collection ‘Memory, Home, Object’ observes connections to her Asian-Australian diasporic identity through the exploration of home spaces. Referencing her grandma's wardrobe, the material outcomes seek different ways to archive and create new memories. The materials used in the collection are mostly from the designer’s grandma's fabrics and garments.

Lily Clatworthy

Exploring the relationship between body and garment to inform perspectives towards mindful consumption, this collection questions habits and attitudes towards purchase and use of clothing to better understand our bodies and clothes. Tying as a way of fastening and the archetype of underwear are explored through unconventional and asymmetrical shapes.

Lily Rachcoff

Embracing the scenario of dressing up at home, this collection explores the unlikely relationship between leisure and formal wear and the emotions felt when we “dress up” during social isolation. Genres of dress are collapsed by silhouettes associated with the ‘special occasion’ and are rendered in jersey fabrics constructed with dressmaking techniques.

Mia Beauchamp

‘Making | Makers’ is a collection that investigates ways of encouraging creative engagement within regional Australian communities through the application of participatory making experiences and social innovation. With a focus on heritage and contemporary crafting techniques as well as fully fashioned knitting, materials are constructed, manipulated, and transformed to inform the body covering outcomes through the use of responsive making methods.

Oscar Keene

Through Oscar’s collection ‘fluid’ he explores the expression of queer materiality in a digital space where shapes, boundaries and form are fluid during a time when the physical world is so limited and restrictive. This young designer also adds that his interactions with fashion have changed immensely in 2020. He has honed in new skills through digital design allowing him to see increased potential for his future in the industry.

Samantha Browne

Inspired by overconsumption and the ‘Make Do and Mend’ campaign from World War Two, 'collection .1' only uses second-hand materials and fabrics. These are used to convey a sense of hope to inspire the fashion industry and everyday people that there is beauty in pre-existing things and need for new is outdated.

Stef Téa Sanderson

This collection is inspired by the designer’s Grandma and her Greek heritage. The inspiration came from a discussion on her Grandma’s experience with feminism and fashion. Shortly after she allowed Stef to discover a world of untouched resources: her closet. After going through her old fabrics, mostly upholstery materials, clothes and accessories inspiration was found for the garments featured in ‘Liberty’s Collection’.

Tijen Bozdemir

This collection is an inquiry into the generational diminishment of religious faith within the designer’s family and is an insight into her contemporary Islamic practise today. In this collection, the intersection of the burqa and the bikini is a way of exploring these themes. Throughout COVID Tijen has shown support for her community by sourcing all of the materials featured in her garments from local businesses.

Vanessa Tan

‘Take A Seat’ is an experimental series exploring the intersection between garments and furniture, with an emphasis placed on ergonomics. Domestic objects are reimagined as accessories for the body and feature scaffolded structures. The garments allow wearers to engage with both clothing and furnishing objects simultaneously.

Wai Yin Tat (Twy)

‘LACING’ is a conceptual collection which explores the possibility of zero waste, sustainability and slow stitching in artisanal forms. The garments are constructed by folding strips of non-stretchable textile and connecting with the specially-developed functional stitching. The project aims to embrace the spirit of craftsmanship and artisanal fashion.

Xanthe Ficarra

This collection is inspired by a future squiggly body. Characters are digitally distorted, then dressed. The body comes first, the clothes follow. There is a juxtaposition of new and old materials in the garments showing strong ties to the past. Furthermore, designers are forced to respond to an evolving system in the confines of their home.

Yongbin Zhang

'Xian – Wudong' is a collection inspired by a common Chinese mythological story: The Creation of Pangu (a central figure in Chinese Daoist legends of creation). The theme of the collection revolves around the story of Pangu creation. Key elements of Yongbin's designs are colour and details frequently found in modern fashion design.

ZhouYi Liang

The main concept of this collection titled '0207 2020' is based on medical protective wear in relation to human society and social practices. It aims to convey a message of what is the point of designing and producing fashion as most of the factors we used to consider as important and ordered start to fall apart.

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